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Anyway, to cover recorders up to the "mid budget" price point, you have, once you go past the price point of Zoom's offerings: Very low budget: 1) Sound Devices MixPre1 (the Gen2 version), basically it doesn't beat a Zoom F8n Pro even though it is a lot more expensive. At best it is "equivalent" to an F8n, but "different". So people might prefer that, just like some people prefer the flavor of hokey pokey icecream over chocolate icecream. Entry level professional: 1) Sound Devices 833, part of their 8 Series and basically the "633 mk2" (the 633 for years was the standard staple for many professional sound mixers, thanks to its affordable price and compact size) however with the tonnes of capability the 833 has it could for many people be all they ever need! (unlike the 633, which is totally unsuitable for mixing drama productions, especially back at launch of the 633) The 833 is out performing the former "high end" products from Sound Sound Devices (788T/688). 2) Zaxcom Nova, a bit like the F8n vs MixPre10 discussion, I wouldn't say the Nova is "better" than the 833, just "different". However to fully get all the benefits of the Nova you really must also buy into the Zaxcom wireless system as well, so don't get a Nova if you're not going to do that. Plus Zaxcom is very much like the "RED of the audio world", rather controversial with a lot of cons lurking under the surface. So while they're a strong choice, and very innovative, don't go in without your eyes being wide open. 3) Sonosax SX-R4+, while I think when the SX-R4+ was released it was probably "the best" in this niche, it was also the first of "the new generation" (i.e. Nova / Deva 24 / 8 Series / Cantar X3 / etc came afterwards), thus I think in 2022 it is much harder to make a strong case for the SX-R4+. Mid budget: 1) Sound Devices 888: this is basically the 833 but with DANTE! And an extra fader. And a few more outputs. And 4 more tracks. 2) Cantar Mini: if I could afford it, I'd get a Cantar Mini in a heart beat, no doubt about it. Many of the top pros in the drama world are switching over to Cantar as they've taken the leader in terms of capabilities / workflow / responsiveness to users / etc High end budget: 1) Sound Devices Scorpio: same as the 833 / 888, but with MORE!! More outputs, more inputs, more faders, more tracks. But fundamentally the same software/features as any other 8 Series. 2) Zaxcom Deva 24: it is a Zaxcom, enough said. (if you are not in the Zaxcom ecosystem, this probably isn't for you. If you are.... then this should be #1 at the top of your shopping list to consider) 3) Cantar X3: The King.

Fujirumors claims no active cooling... alongside 8K that surely means overheating. As a pro, overheating is my #1 concern. With high-resolution & 10-bit manufacturers really need to factor in air cooling. All the features in the world doesn't mean a damn thing if your camera can't make it through the day without bricking.

The Lumix L 24-105 f4 lens AF works well on the Sigma fp, and it is near parfocal (12bit RAW 4K videos):

Any "schedules" companies have had, got thrown out the window when covid hit (and kept on hitting, and hitting, and hitting).

I shot in 8bit 4K RAW by accident. How bad is it?

Those days are gone, wake up Emanuel, IBIS has progressed lol. 😉

I've quickly gone through the Z9 PDF user manual but can't find it -- are there film ratio marking options available in the display? Considering the headline video specs of this camera, I'm surprised if Nikon still expects you to put masking tape across the rear screen for 2.39:1 guidelines in 2022.

Also would add: https://brusfri.com/

DR always gets peoples knickers in a bunch, especially when they misinterpret it! DR is only relevant when you can compare the results of the test to other tests of other cameras. For this, CineD seems to have the biggest back-catalogue of tests. Their results for the GH6 are 11.0 / 12.2 stops: but this is Prores HQ which has lots of noise: Here is the h.265 results, which has compression suppresses noise - magically it's 11.5 / 12.8 stops: Think the P6K will do better? It's RAW, and has a larger sensor.. well, it gets 11.8 / 12.9 stops: but look at the noise..... That looks like it's got less noise than the GH6, and the 13th and 14th stops are barely peaking out from below the noise floor... Just like the GH6! Just to really put things in perspective, here's the Alexa Mini LF: It gets 13.4 / 14.7 stops on the same test setup. Their comment about it is "Quite interestingly, it’s a tiny bit less (at SNR = 2) than for the ALEXA Classic – it seems that the internal signal processing was changed a bit going even more towards a “raw” signal with less noise filtering. However, more zones are identified and 3 additional stops are buried in the noise floor." Let's look more closely at what is going on. This is the GH6 (from above) and the 10th stop is completely separate from the noise floor, but the 11th is touching. and the Alexa (also from above) has the 13th completely separate, but closer than the 10th on the GH6. So, does that mean that the GH6 is only 3 stops behind the Alexa LF? Well, it depends on what you think a "stop" really is. Do you think that these stops here: are as useful as these stops here? Maybe I'm missing something, but the 14th stop (and the fuzz slightly beyond that) seems like its not going to make much difference to anything in the real world.... That h.265 result of 11.5 / 12.8 is the best MFT sensor that CineD have ever tested as far as I know, so that should put it in perspective. And if you want some real perspective, this is the GH1: If you'd paid good money for that 8th stop then you might feel a little cheated!

Ditto. Most of my wedding is 12-15 hours long and from June-Sep, mostly on 30+C/85+F but can go higher. Plus often in direct sunlight for hours on end which makes cameras hot to touch even when they are not working. Having said that, I have never had a camera overheat and the only one I currently have with a heatsink/fan is my S1H. My old XT3's got pretty hot, but never had a shut off or even a warning. A few years back though, my old Sony RX100V did. All the time. Too small I guess to dissipate the heat? The S1H is the target Fuji need to beat for me. In what way? Ideally, a tad smaller, though no real issue. Ideally lighter by say 200-250 grams. Same kind of screen (and XH1 had a good screen so...) Otherwise, struggling actually... The main thing I am looking for in my next camera body, whenever that time comes, is an amalgamation of all 3 bodies I currently use, into one single body type. The differences between my current S1H/S1R/S5 are actually quite considerable and the only thing all 3 share is actually the LUMIX logo on the front and the ability to use the same lenses. With the XH2, at least from the reports, Fuji may have the answer for me, but we'll see...

Very much the same, and the primary reason I invested so much into M43. I cannot accept a camera that has even the slightest chance of overheating for my work. I need to be able to record for hours and hours in sweltering venues without any issues.

Well, JBs comment was about it dropping on the first day of NAB. Repeating the same thing, and becoming the buzz of the whole show, seems like a pretty good strategy, and quite fitting since they did it the first time around. I did wonder if they'd go the ARRI / RED direction and splice a few of those sensors together perhaps. The 8K readout mode is very fast, so they could do either two or three of them in that mode, making an URSA LF. If they kept the 12K resolution and had three sensors, it would be 19440x12288 (12288×6480 sensors x 3)... 19K!! and have a crop factor similar to the ARRI LF. Release it in ARRI's (open source) LPL mount and you'd have complete lens compatibility with ARRI LF. I wouldn't either. But a box camera isn't out of the question...

I see a lot of used BMPCC with broken micro HDMI. It's actually why I haven't repurchased one of them. The screen on the OG Pocket is also total crap. I have heard the sigma FP screen is pretty nice, aside from its lack of tilt. If I get one I will buy the tilt modification kit.

My money is on it being a new selection box.

Hey Guys, long time Bolex 8/19 shooter here.. I need some help. I took my 8 / 19 in to have the rear element cleaned (had some haze forming) and when I got it back it wouldn't focus to infinity anymore. Needless to say I regret this decision. The tech that cleaned it is no help getting it back to proper function. It focus out about 10 feet or so, I reached out to Bernie at super16 (saw his info on one of the other posts) but very sadly he has passed away semi recently. Does anyone have a technician they have used for to maintain or repair their adapter here in the USA? any help or expertise would be greatly appreciated. than you in advance.

Can I leave a suggestion then? : ) More power to the footage subforum... :- )

Does this monitoring/level mismatch occur in the screen/evf or only when externally monitored? Thank you for your informative posts regarding this phenomenon, and the sharing of knowledge!